From here on we walked through the casino and ended up at this fancy wooden desk. Sliding the credit card, my dad purchased 4 tickets for the show, which was almost sold out. Evidently we tried to get the best seats, so we could get the best view. KA was later on in the day, so we decided to look around. On the other hand, we visited all of these colorful and energetic casinos and shops until it was time.
Most of us would classify most of Shakespeare’s plays as “deep-thinking style” with its colorful words and philosophical meanings. This play “Titus Andronicus” was different. Many theaters and playhouses have given their revenue on the play with wondrous praise. The play performed at Theater Works was an interesting spin on the play. Given the set-up and the modern attire of the performers the director drew in the audience from the very first scene.
The Tuesday, March 28 performance of Ithaca Colleges production of The Cradle Will Rock emphasizes the Brechtian element of distancing the audience from the performance that Blitzstein 's original script lacks. Before the show began, the actors and the stage manager casually roamed about the stage, at times talking with friends in the audience or each other, played a few notes on the piano, and did microphone checks–all out of character. From the spectators ' first moments in the theatre, a clear distinction between the actors and their characters can be seen. Throughout the play, the actors helped move around various props on wheels, such as the piano, a bar counter, and pews. In addition, arching from stage right to left and arching
They do however provide a sense of unity because regardless of the current situation everyone focuses on the ultimate goal. Everyone is dirty, unclean, and in tatters however the group is focused on making the best final product. The colors in the second act in comparison to the first are lively and bright. They give a new sense of life to the group in direct contrasts to the first where everything is dark matching the mood. The final act gives a new and royal ambiance to the play.
The second movement brought a sense of balance to the overall piece. It started off pretty slow and peaceful, and the audience became relaxed. It began to increase in speed, and all of sudden the percussion came out in full force. It woke the whole audience up and brought life back to orchestra, who had begun to lose energy. It was funny when the violinists stop playing and it got quiet, and then they picked back up again, and stopped.
For in these instances, the intense dichotomy of Art and Power were fully shown and it was as if the 1930s came alive on screen. One such instance was the very final scene of the movie when the image flipped between the syphilis cell, the high society masquerade, and the production of Cradle Will Rock. The spectacle within the two images of the masquerade and the production could not be more different. The masquerade was empty of the life and joy seen in the theatre full of hundreds of people. The people at the masquerade wore costumes and masked themselves while those in the theatre did not.
Theater is a form of fine art, which uses the live performers to present the experience of a real or imagined event to audiences in the specific place. There are two main categories of the theater, which is the serious(including tragedy) and comic. Tragedy is the dramatic composition with an unhappy ending. Nevertheless, comedy is different with the tragic drama. It makes the audiences to get laughter.
The movie industry became a huge business. According to the article, The Formation of Modern American Mass Culture, three-fourths of the American population went to a movie theater every week. Movies were seen by both the wealthy and the poor alike. They provided an outlet for people to escape the trouble of their everyday life. Individuals may not be able to tell you the names of political figures, but you can bet they knew the names of every leading actor and actress from the 20s.
It slowly started to get packed and soon it was very musty from all the sweat and the venue quickly began to smell like alcohol. There was smoke machines all around the dance floor and my clothes became significantly damp, which was really gross. We attempted to dance where we initially were at, but there was not enough space for us to move around. We ended up moving to the back of the venue where it was less packed and there we began to dance to the rhythmic beats of the trumpets and drums.The band played very loud and upbeat music for about two hours and then they had a special guest, who was going to take over for the remainder of the night. Personally, I really did not like the other artists, which is why I asked my friends if they wanted to stay or go get in line for autographs and pictures with the
But it was not a part without any challenges. From the actors trying to bring out their dark side, showing such an endless case of emotions and feelings in their body language to their interpretation of the play and language Shakespeare used during his era. The challenges seem to keep growing over the years and are an enormous tasks that could make any actor capable a star. Roberson whom set records with reviews and continuous performances that spanned both London and Broadway in New York, to IRA becoming the first African American to play the role. To the first actor to play the role of Othello, Richard whom played almost all of Shakespeare celebrated roles, set the expectations for the part to a level that many could not reach.
But sadly my compliments are overshadowed by the workload being inflicted onto two main actors within the play. Sobal which I actually am praising this time, has been able to consistently act his characters to a decent level to where I cannot complain about him. Mallari on the other hand has had an amazing start at the beginning of the play, but
A Perfectly Tragic Pair Richard Rogers (1902-1979) and Lorenz Hart (1895-1942) were an American songwriting team. While working together, they wrote more than twenty-eight stage musicals and more than 500 songs between 1919 and 1943. Their first song on Broadway was “Any Old Place with You,” sung in A Lonely Romeo (Hurwitz 100). They had individual songs appear in a variety of shows, but their first complete score and break through success was The Garrick Gaieties. This was originally scheduled as a two-performance fundraiser for the Theatre Guild, but was so successful that it was extended and ran for 211 performances.